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ARTHIST 102: Introduction to Greek Art II: The Classical Period (CLASSICS 162)

The class begins with the art, architecture and political ideals of Periclean Athens, from the emergence of the city as the political and cultural center of Greece in 450 to its defeat in the Peloponnesian War in 404. It then considers how the Athenians (shell-shocked from war and three outbreaks of plague) and the rest of 4th century Greece rebuild their lives and the monuments that define them. Earlier 5th century traditions endure, with subtle changes, in the work of sculptors such as Kephisodotos. Less subtle are the outlook and output of his son Praxiteles. In collaboration with Phryne, his muse and mistress, Praxiteles challenged the canons and constraints of the past with the first female nude in the history of Greek sculpture. His gender-bending gods and men were equally audacious, their shiny surfaces reflecting Plato's discussion of Eros and androgyny. Scopas was also a man of his time, but pursued different interests. Drawn to the interior lives of men and woman, his torment more »
The class begins with the art, architecture and political ideals of Periclean Athens, from the emergence of the city as the political and cultural center of Greece in 450 to its defeat in the Peloponnesian War in 404. It then considers how the Athenians (shell-shocked from war and three outbreaks of plague) and the rest of 4th century Greece rebuild their lives and the monuments that define them. Earlier 5th century traditions endure, with subtle changes, in the work of sculptors such as Kephisodotos. Less subtle are the outlook and output of his son Praxiteles. In collaboration with Phryne, his muse and mistress, Praxiteles challenged the canons and constraints of the past with the first female nude in the history of Greek sculpture. His gender-bending gods and men were equally audacious, their shiny surfaces reflecting Plato's discussion of Eros and androgyny. Scopas was also a man of his time, but pursued different interests. Drawn to the interior lives of men and woman, his tormented Trojan War heroes and victims are still scarred by memories of the Peloponnesian War, and a world away from the serene faces of the Parthenon. His Maenad, who has left this world for another, belongs to the same years as Euripides' Bacchae and, at the same time, anticipates the torsion and turbulence of Bernini and the Italian Baroque. The history and visual culture of these years remind us that we are not alone, that the Greeks grappled as we do with the inevitability and consequences of war, disease and inner daemons.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

ARTHIST 104A: The Secret Lives of Statues from Ancient Egypt to Confederate Monuments (ARCHLGY 96, CLASSICS 96)

Statues, human-shaped sculptures, walk a fine line between being inert matter and living entities. Throughout human existence, humans have recognized that statues are not alive even as they understand that statues are capable of becoming potent allies or enemies. They are capable of engendering profound emotional responses, embodying potent ideas, and co-opting the past in service of the present. However, the same materiality that endows statues with these exceptional capacities also makes them vulnerable to humans intent on acquiring otherwise-expensive materials cheaply, commiting sectarian violence by proxy, and obliterating the material manifestations of others¿ memories.nnIn this course, we will study sixteen (groups of) statues thematically. To do this, we will draw on a wide variety of disciplines, including archaeology, art history, history, law, media studies, museum studies, and religious studies, to articulate how people in diverse places and times have revered and reviled statues precisely because they are uncanny objects that seem to have an all-too-human kind of agency. In so doing, we will gain appreciation for and insight into how and why the statues in our own lives are significant.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Gisch, D. (PI)

ARTHIST 106: Byzantine Art and Architecture, 300-1453 C.E. (ARTHIST 306, CLASSICS 171)

This course explores the art and architecture of the Eastern Mediterranean: Constantinople, Jerusalem, Alexandria, Antioch, Damascus, Thessaloniki, and Palermo, 4th-15th centuries. Applying an innovative approach, we will probe questions of phenomenology and aesthetics, focusing our discussion on the performance and appearance of spaces and objects in the changing diurnal light, in the glitter of mosaics and in the mirror reflection and translucency of marble.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 110: French Painting from Watteau to Monet (ARTHIST 310, FRENCH 110, FRENCH 310)

This course offers a survey of painting in France from 1700 to around 1900. It introduces major artists, artworks, and the concepts used by contemporary observers and later art historians to make sense of this extraordinarily rich period. Overarching themes discussed in the class will include the dueling legacies of coloristic virtuosity and classical formalism, new ways of representing visual perception, the opposing artistic effects of absorption and theatricality, the rise and fall of official arts institutions, and the participation of artists and artworks in political upheaval and social change. The course ends with an interrogation of the concept of modernity and its emergence out of dialogue and conflict with artists of the past. Students will learn and practice formal analysis of paintings, as well as interpretations stressing historical context.
Last offered: Winter 2019 | UG Reqs: WAY-A-II

ARTHIST 114: Mystical Naturalism: Van Eyck, Dürer, and the Northern Renaissance (ARTHIST 314)

A survey of the major innovations in Northern European painting ca. 1400-1600, in light of the social status of the artist between city and court. In the early fifteenth century painters began to render an idealized world down to its smallest details in ways that engaged new devotional practices. Later Hieronymus Bosch would identify the painter¿s imagination with the bizarre and grotesque. In response to Renaissance humanism, some painters introduced classical mythology and allegorical subjects in their works, and many traveled south to absorb Italianate pictorial styles. We will be visiting art museums in San Francisco and Stanford. May be repeat for credit.
Last offered: Winter 2014 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 2 times (up to 8 units total)

ARTHIST 115: The Italian Renaissance, or the Art of Success (ARTHIST 315)

How come that, even if you have never set foot in Italy, you have heard of Leonardo, Michelangelo, and Raphael? What made them so incredibly famous, back then as well as today? This course examines the shooting of those, and other, artists to fame. It provides in-depth analyses of their innovative drawing practices and the making of masterpieces, taking you through a virtual journey across some of the greatest European and American collections. At the same time, this course also offers a study of the mechanics of success, how opportunities are created and reputations managed, and what role art plays in the construction of class and in today's national politics."
Last offered: Autumn 2019 | UG Reqs: WAY-A-II

ARTHIST 117: Picturing the Papacy, 1300-1850 (ARTHIST 317)

Popes deployed art and architecture to glorify their dual spiritual and temporal authority, being both Christ's vicars on earth and rulers of state. After the return of the papacy from Avignon, Rome underwent numerous campaigns of renovation that staged a continuity between the pontiffs and the ancient Roman emperors. Patronage of art and architecture became important tools in the fight against Protestantism. Artists include Botticelli, Michelangelo, Caravaggio, and Bernini.
Last offered: Spring 2014 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 2 times (up to 8 units total)

ARTHIST 118: Titian, Veronese, Tintoretto (ARTHIST 318)

The course addresses the ways in which Venetian painters of the sixteenth century redefined paradigms of color, design, and invention. Themes to be examined include civic piety, new kinds of mythological painting, the intersection between naturalism and eroticism, and the relationship between art and rituals of church and statecraft.
Last offered: Spring 2013 | UG Reqs: WAY-A-II

ARTHIST 118A: Space, Public Discourse and Revolutionary Practices (CSRE 95I, GLOBAL 145)

This course examines the mediums of public art that have been voices of social change, protestnand expressions of community desire. It will offer a unique glimpse into Iran¿sncontemporary art and visual culture through the investigation of public art practices such asngraffiti and street art, as well as older traditions of Naghali and Iranian Coffeehouse Painting.nnBeginning Iranian case studies will be expanded in comparison with global examples that spannprojects that include Insite (San Diego/Tijuana), Project Row Houses (Houston, TX) the DMZnProject (Korea), Munster Skulpture Projects (Germany), among others. Students will alsonexamine the infrastructural conditions of public art, such as civic, public, and private funding,nrelationships with local communities, and the life of these projects as they move in and out ofnthe artworld. This encompassing view anchors a legacy of Iranian cultural contributions in largerntrajectories of art history, contemporary art, and community arts practice. Guest artists,ncurators, and researchers with site visits included. Students will propose either new public artnproposals, exhibitions, or research to provoke their own ideas while engaging the ever changingnstate of public discourse in these case studies
| UG Reqs: WAY-A-II

ARTHIST 119: Love at First Sight: Visual Desire, Attraction, and the Pleasures of Art (ARTHIST 319, FRENCH 149, FRENCH 349, ITALIAN 149, ITALIAN 349)

Why do dating sites rely on photographs? Why do we believe that love is above all a visual force? How is pleasure, even erotic pleasure, achieved through looking? While the psychology of impressions offers some answers, this course uncovers the ways poets, songwriters, and especially artists have explored myths and promoted ideas about the coupling of love and seeing. Week by week, we will be reflecting on love as political critique, social disruption, and magical force. And we will do so by examining some of the most iconic works of art, from Dante's writings on lovesickness to Caravaggio's Narcissus, studying the ways that objects have shifted from keepsakes to targets of our cares. While exploring the visual roots and evolutions of what has become one of life's fundamental drives, this course offers a passionate survey of European art from Giotto's kiss to Fragonard's swing that elicits stimulating questions about the sensorial nature of desire and the human struggle to control emotions.
Terms: Sum | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Lugli, E. (PI)
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